As I was watching How Do You Know last week, I found myself thinking that Reese Witherspoon was looking a little old. I suppose my mental image of her is still stuck in the days of Election and Legally Blonde, even though the latter of those two is now nearly a decade old. Still, when I think of Reese Witherspoon, I think of the fresh-faced, perky young woman she played in those movies, so seeing her now in a movie that really dwelt on the extreme close-ups, I couldn't help but see the little lines starting in her face and think about how time marches on for all of us.

Of course, I realized very quickly after that that she and I are more or less the same age. She's 34, I'm 31. The difference is pretty negligible at this point. That realization was quickly followed by another: that my mental image of myself is also stuck in days past.

I don't actually think of myself as a kid anymore. No, seeing teenagers at the mall, for example, or college kids in the beachside parks, I don't actually feel like I'd fit into those crowds anymore, nor do I have any particular desire to do so. But more and more often I keep having these weird moments where my age kind of hits me in the face.

Like the other day, for example, I was watching this clip of Marc Maron on the Letterman show, at the end of which he talks about how one way he knows he's getting older is how teenage girls see him. It's a funny bit and I laughed, but later I realized that he was 33 at the time, and, yeah, that's pretty much where I am right now, too. (To quote Maron, "Now, don't misunderstand what I'm saying, I'm not saying I want to have sex with teenage girls, I'm just saying, 'Hey, throw me a bone.'")

Or when I was watching the Rose Bowl last weekend with my uncle and realized that not only am I way older than any player on that field, but I'm actually older than the vast majority of pro sports players. I pointed that out to my uncle and he burst out laughing.

Mind you, I know I'm not actually old. I did find one gray hair in one of my sideburns a while back, but I just keep my 'burns shorter these days. But, no, I'm not saying I'm old. It's just weird to think about how I'm not actually young anymore either.

You might guess that this one was Juliette's pick, and that's more or less true, but I had actually been intrigued by it as well. I like Paul Rudd and Owen Wilson, after all, but more than that I was interested to see what kind of movie Reese Witherspoon would pick as her first after a two-year hiatus, especially since I'd liked pretty much everything I'd seen her in before. Sadly, that streak has come to an end, because despite the strong cast, How Do You Know was mediocre at best.

I think that writer-director James L. Brooks and I just aren't on the same wavelength. I didn't care for As Good As It Gets and found Spanglish disappointing and scattered. With How Do You Know, Brooks has continued his streak of well-cast films that can't get past the poor script, and with respect to the writing, this one was the worst of the three.

Things just sort of... happened. Characters behaved oddly with little to no warning and often for no apparent reason. Important relationships were insufficiently explained, leaving me with no clear idea of how or why the people involved should have been acting. Neither of the main characters' plotlines made a lot of sense, nor did they come together or resolve in any meaningful way. It was just a strange, barely connected series of scenes, many of which didn't work individually and none of which worked together to form a coherent whole.

Mind you, I've seen all of the principal actors (and most of the supporting ones) do great work before. I have to give them an A for effort here, because the performances were about as good as they could be. It made it all the more frustrating when they were able to find ways to make moments click, because it was easy to see how good the movie could have been if it had been better written. Alas, it was not to be.

Viewed: 2010-12-30 | Released: 2010-12-17 | Score: C-

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Jason does this thing sometimes, when he's really happy with us, when we're holding him, where he puts a hand on either side of our face and smiles. He just looks at us, looks into our eyes, all over our faces, beaming, and it's like he's drinking in the sight of the face in front of him, like he sees something there that's wonderful and amazing. It's one of the best things about being his parent.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8 DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, manual flash mode. Aperture f/1.8, shutter 1/500, ISO 400, flash power 1/16. Post-processing in Aperture 3: cropped out a bunch on top and to the left; curves to increase exposure; levels to brighten midtones.

Thoughts for improvement: The focus is quite soft, but I can't decide whether or not I like it that way. The window in the background is a little bright as well.

I think the first question most people will ask when you mention that you've just seen a particular movie is "How was it?" When I got that question after seeing the Coen brothers' new version of True Grit, the best I could manage was a noncommittal "Uh, yeah, it was good."

Now, you'd think that being a fan of the Coens, Jeff Bridges, and Westerns, this movie would be the type to immediately garner lavish praise from me. The problem, though, is that I'm also a giant fan of the 1969 John Wayne version of the film, so both before and after I found myself with a deep ambivalence about the very existence of a remake.

Remakes, in general, are always problematic for me. It's the kind of thing critics and movie buffs have been bemoaning for years, the bottom-line orientation of the modern studios having lead to a glut of remakes and sequels and a dearth of new, creative work. The Coens, of course, tried to head off such criticism by claiming that their film was a new adaptation of the original 1968 novel rather than a remake of the Wayne film, but that always struck me as splitting hairs.

Unlike most remakes, though, the Coens' True Grit is neither shallow nor technically incompetent—quite the opposite, in fact. What's more, I have to say that it does, indeed, bring something new to the story. The 1969 film is a classic, an iconic movie that cannot be replaced. The new one may not be either, but I don't think the comparison really does right by either movie, and having had some time to think it over, I've decided that the best thing is to simply take this new version on its own merits.

When you do that, it's easy to realize that it's a very well-crafted film. The Coen brothers visual aesthetic, which worked so well with a Western setting in No Country for Old Men, made for stunning scenes. Their signature Coen-y weirdness worked well when they needed a comic moment, but they used it sparingly enough to allow the film an earnestness that made the dramatic moments effective. The performances, too, were excellent. Jeff Bridges was great, of course, bringing a more menacing touch to the character of Rooster Cogburn. Matt Damon was also quite good, and newcomer Hailee Steinfeld was perfect as Mattie Ross.

I'm still not on board with the idea of remakes, especially not of classics or of movies that were done right the first time around. I have to admit, though, that there are times when a fresh point of view can make something new that, while perhaps not better than the original, is at least worthy to stand in its company.

Viewed: 2010-12-26 | Released: 2010-12-22 | Score: A-

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I think the most gratifying part of the holidays this year was seeing how much Jason loves his extended family. We spent Christmas with Juliette's family and New Year's with mine, and with both groups it was obvious how much he enjoyed being around them. He was particularly attached to Juliette's younger brother and one of my aunts, but he spent time with just about everybody and talked about all of them through the entire 11-hour drive home.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8 DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, manual flash mode. Aperture f/2.8, shutter 1/500, ISO 400, flash power 1/16. Post-processing in Aperture 3: straightened horizon; auto WB picked from Woody's vest; levels to brighten highlights and midtones; curves to darken shadows.

Thoughts for improvement: I wish I had been moved back just a bit so I could have gotten Jason's entire right leg and not cut off my aunt's knee.

This Christmas, for the first time, Juliette and I hosted her family at our house for the holiday. Her parents came, as well as her younger brother and sister and new brother-in-law. Things were a bit hectic leading up to it, as we were planning our first ever Christmas dinner, but in the end it all came off without a hitch and a good time (and good meal) was had by all.

Looking around the table as we sat for Christmas dinner, I was struck by just how many kinds of people were represented in that small group. There were eight of us together that night, and in that eight were included a toddler and a 78-year-old, a college student, and a pair of newlyweds. There were Caucasians, Japanese, and a black man. There were Canadians, a Brazilian, and Americans from both coasts. There were at least two different Christian denominations represented, plus a Jewish man, an atheist, and at least one agnostic. Conservatives, moderates, liberals, and the politically indifferent were all there.

And the most amazing thing to me is that despite all of our differences, we all get along. We have our disagreements, true—we even had a little political discussion during the meal. But even when we argue, we listen to what each other have to say, actually weigh the merits of the other's points, and treat one another with respect.

In my more optimistic moments, I believe that we as a species are capable of being more and better than the shrill, angry voices that seem to be dominating political and social discourse right now. It's not always easy to keep a level tone and a reasonable perspective, but seeing a group like the one we had for the holiday makes me know it can be done. If I could have just one wish for the new year, it would be that more people could see it—and live it—as well.

I meant to post this one a week ago, but our post-Christmas travels took us away from the Internet for the duration and I didn't get the chance. I suppose it may be a bit tacky to be posting holiday snaps several days into the new year—a bit like all the people in my neighborhood who still have their Christmas lights not only up but lit. I figure, though, that the beginning of a new year is a time of anticipation and excitement, and a kid on Christmas morning has that in spades, right? That's my story, and I'm sticking to it.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8 DX lens, and Nikon SB-400 flash. Aperture-priority exposure mode (matrix metering), TTL flash mode (+0 EV). Aperture f/1.8, shutter 1/60 sec (+0 EV), ISO 200. Post-processing in Aperture 3: flash WB preset; crop to 5x7; curves to bring up exposure and add contrast; cloned out some spots on her face; applied skin smoothing to her face.

Thoughts for improvement: The flash here is simply bounced off the ceiling, so the shadows under their cheeks and eyebrows could be filled better. It would also be nice if I hadn't cut off her shoulder. I think it's a good capture of the moment, though, and I like the soft reflection of the Christmas tree in the background.

It's Christmas Eve, and all of us here at Sakeriver (me, that is) wish you all a safe, healthy, and happy holiday. And to say thanks for following along all this time, here's a cookie, decorated by Jason's friend L.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8 DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, manual flash mode. Aperture f/4, shutter 1/30 sec, ISO 200, flash power 1/4 (I think). Post-processing in Aperture 3: curves to brighten highlights and midtones; levels to darken shadows and brighten midtones.

Thoughts for improvement: The background is a little cluttered, so this might have been better at f/2.8 or f/1.8 to further defocus the background. I do like the little red and green bokeh highlights in the corner, though. There is also some color fringing due to chromatic aberration, but this is an artifact of my lens/camera combination—if I were more motivated I could try to remove or reduce it in Photoshop.

Jason loves babies. He loves to look at them and point them out to us whenever he sees them. And, as you can see, he loves playing with baby dolls. He doesn't have any of his own, but when he's at day care or when we go over to friends' houses, the baby dolls are among the first things he'll go for. He likes to hold them and put their bottles in.

The funny thing is, my mom always talks about how when I was a kid, I loved babies. I don't know if that extended to baby dolls, but she loves to talk about how I always wanted to hold every baby that I saw and how I liked to talk to them. She also loves to talk about how much Jason is just like me, so I reckon she'll get a kick out of this post.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8 DX lens, and Vivitar DF-383 flash (with Gary Fong Lightsphere). Manual exposure mode and TTL flash mode (+1 EV). Aperture f/1.8, shutter 1/30 sec, ISO 200. Post-processing in Aperture 3: cloned out a scab on his cheek; curves to increase exposure and add a bit of contrast.

Thoughts for improvement: I missed the focus a little, so the lettering on the hat is sharp while his eyes are just a touch soft.  I might have also liked to see this with an 85mm f/1.4, to get a softer background. He could also probably use a little more light on him.

On Sunday we were supposed to meet up with some friends and their daughter and go to Legoland. It rained, though, so instead we went over to their house to decorate some Christmas cookies. (Pro tip: if there's any chance whatsoever that your plans to go to Legoland might change, don't tell your toddler about it ahead of time. This turned out to be key in making our Sunday afternoon work.

Jason has known this girl since they were both just a few weeks old (Juliette and her mom met in a breastfeeding support group), and it's been neat to watch them grow up together. One of the most interesting parts of this weekend was watching them interact, because it marked the first time that they really talked and played with each other without any intermediaries. Up until now, most of their communication had had to relay through us parents, but this time they actually had some little toddler conversations. It's going to be neat to see how their friendship progresses now that they're actually able to connect with each other directly.

Technical info: Shot with a Nikon D40 Nikkor 35mm f/1.8 DX lens, and Vivitar DF-383 flash (with Gary Fong Lightsphere). Manual exposure mode and TTL flash mode (+0 EV). Aperture f/2.8, shutter 1/30 sec, ISO 200. Post-processing in Aperture 3: curves to bring up exposure; burned over the highlight on the railing; vignetting applied; edge sharpening applied.

Thoughts for improvement: The highlight on the railing is distracting, though I was able to reduce it some by burning. Other than that, though, I like the lighting a lot—the Gary Fong Lightsphere really does work well. Compositionally, this would be much better with a sparser background. There's stuff right behind both of their heads that looks weird, and the stuff like the fence and TV really don't add anything. If I were doing this in a studio, I'd like to see what it looked like with just the kids, the chairs, and the table.